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'White Collar' Recap: Player Vs. Player

USA Network
Ever hear of an Elevator Pitch? That's where people summarize their ideas or job history and qualities in the amount of time it takes to ride an elevator to the lobby. This is an Elevator Recap for this episode of White Collar. Ready? Going down. Oh, please don't put in those earbuds...
After carefully inspecting the home of the woman that Neal Caffrey (Matt Bomer) thought was Rebecca Lowe (Bridget Regan), he and FBI agent Peter Burke (Tim DeKay) decided to play things like he didn't know what the situation was to avoid spooking Lowe. He was going to meet her for breakfast while the FBI continued searching Lowe's place and adding bugs, but she showed up at his place early and after a quick call by Caffrey, pretending he was going to be late which alerted Burke that it was OK to continue searching her home. An idiot FBI agent dropped a file on a tripwire on the door and it alerted Lowe, but Burke's quick thinking of leaving a Chinese delivery menu made her think it was the menu that set it off. Oh yeah, and Caffrey had told Lowe that he was falling in love with her to buy more time before she left, turning her into a near-giggling schoolgirl.
Burke and Caffrey decided to change the angle and had her come in to the office, where Burke told Lowe that he thought it was Caffrey who had murdered Curtis Hagen (Mark Sheppard) and that she should keep her distance. She then quickly called Caffrey and met him at a nearby park - with about 50,000 undercover agents and Caffrey having a directional mic pen. She was about to blurt out who she was but then spotted the undercovers and fled, comandeering a taxi.
Now that her cover was completely blown, Burke and Caffrey were examining her apartment - with a brief interelude of Lowe sending a warning shot through a window that grazed the debonair con man - and found her go bag with money. After that, they found the gun that she had used to kill Agent David Siegel (Warren Kole) - it was in a construction site that had just had cement poured on the day Siegel died. Burke sent Caffrey home - telling him to stay off the grid. But Caffrey contacted Lowe and then met her (whose real name was Rachel Turner, a traitorous M-5 agent), at a location that she had texted after he promised to give up where the diamond was in exchange for the blackmail video that Hagen had taken at an abandoned church and lured her to kiss him by pretending he didn't want the blackmail video. He handcuffed her to him and destroyed the thumb drive with the video. She tried to escape, but the FBI caught her.
All's well that ends well, right? Burke finalized his going to Washington, telling Caffrey and then his wife, Elizabeth (Tiffani Thiessen), who had been in D.C. in hiding after Burke found Lowe/Turner had a file on her. They toasted to new beginnings. Elsewhere, Caffrey and Mozzie (Willie Garson) were toasting to trying to find the diamond without Lowe/Turner. Caffrey then got a call from the woman herself where she promised she would see him again. Dun Dun Dun.
OK, that was an Elevator Recap where I was a jerk and pushed every button so we'd stop on every floor on the way.
Caffrey's Level of Secrecy
Fairly low, but he did decide that he was going to forge ahead in trying to find the diamond since Burke was moving to Washington. It's going to be interesting to see how he handles dealing with Agent Clinton Jones (Sharif Atkins) as his main handler. Jones, while showing some sympathy to what Caffrey was going through in finding out that he had been conned, isn't as trusting as Burke.
Silly Plot Devices
Lowe suddenly recognizing an FBI agent in the park by the way they stopped acting normal and blatantly standing there with a sign saying, "HI. I AM AN UNDERCOVER COP WATCHING YOU." Of course, it was to keep the plot going since it was halfway through the show, but it always irritates me.
Mozzie's Quirkiness Level
Medium. He was being supportive of Caffrey in the beginning as he was processing that he had been had by Lowe/Turner. "I even profiled her," he said. When Cafrey said he had reached out to the con lady, he said, "This may end with me reciting Proust over your grave." In the end, when he was trying to remember the equation that could lead to the location of the diamond, he did ask for complete silence and rosemary while he meditated. All in all, he was fairly muted this episode.
Caffrey's Relationship Status
What relationship status? He was just completely taken by a woman he had fallen for. Caffrey will probably be off the singles market for a minimum of three episodes into the next season. Right now, his status on Facebook would be "It's Complicated".
Burke Self-Torture Level
Low. He just closed the case on the dead Agent Siegel and he's moving to an even more challenging job in Washington fairly soon. He's happy now. Eventually something's going to get him back in Manhattan, but it'll probably be at some point next season.
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USA Network
Apparently Jeff Eastin, the show's creator, decided his New Year's Resolution was to really toss things into high gear with this episode. He succeeded.
The episode aired with Peter Burke (Tim DeKay) running in the park (all that was missing was the title music for Chariots of Fire in the background), ruminating on what had gone on with Neal Caffrey (Matt Bomer) and his recent actions that, while keeping him out of jail, seriously crossed lines in terms of lawfulness in Burke's eyes. He then got a call from the FBI Section Chief Bruce (Boris McGiver in a decidedly different role than the assassin Hersh on Person of Interest) who said that Washington was ready to hire Burke. It was a huge opportunity for the longtime FBI agent, but as Agent Clinton Jones (Sharif Atkins) told him in the next scene, Caffrey was holding him back and Jones suggested that Caffrey should learn to take responsibility for his own actions. Of course, neither agent had a clue what was REALLY going on.
Caffrey and Mozzie (Willie Garson) went to meet Curtis Hagen (Mark Sheppard) at a public water fountain. Caffrey wanted to renegotiate, but Hagen had his own tactic - kidnapping Rebecca Lowe (Bridget Regan), Caffrey's love interest. He proved it by showing a cell phone with a live stream of her sitting in a corner of a room, gagged. Caffrey was ready to drown the scuzzy forgerer, but held back after being warned that the lovely hostage would die. Caffrey had half an hour to meet at an address with the window.
In the past few episodes, Caffrey and Mozzie had been finding their friendship really strained, since Mozzie had kept warning his friend not to get emotionally entangled with Lowe. Yeah. Like Caffrey really listened to that. He proved that there was still solidarity when Caffrey said, "I'm on my own." after Mozzie tried to get him to loop Burke in, Mozzie said softly, "No ... we're on our own." which earned a grateful beam from Caffrey. They hatched a plan to try to plant a tracking device/bug on Hagen that would allow them to both listen and follow him wherever he went.
Burke met his wife Elizabeth (Tiffani Thiessen) at the park and told her that he was taking the Washington job in two weeks. Burke still felt tortured at having to accept what Caffrey had done. He also showed her the card that the late Agent David Siegel (Warren Kole) had been carrying. He was meeting an art dealer about a possible forgery. He said he was not bringing Caffrey in on it.
Caffrey and Mozzie met Hage. Caffrey showed the window pane - that should have been it, but Hagen made them stay to solve the rest of the puzzle of the Mosconi code. He said that Mosconi was covering a big secret and showed them a mural he had restored. Caffrey took this as a cue to try to sidle up to Hagen and slip the bug in Hagen's pocket. The Gods Of TV Writing had Burke call him right there, killing that chance. Caffrey said that he had to see the FBI agent so as not to arouse suspcicion. Before he left, he made Hagen call Lowe and he talked to her. Well, he talked at her, since she was gagged and couldn't say anything more than "MMPH! MMMPH! MMMMMMMMMMMMMMMMPH!"
While Caffrey was with Burke trying to suss out wheter a painting was a forgery, Mozzie and Hagen were having a snark-off, with both actors leveraging their smarminess to the hilt. Hagen showed that he had the upper hand by revealing that he knew Mozzie's real name of Teddy Winters. At the art dealer, Caffrey found that the painting was indeed a fake and that it had Hagen's initials hidden on it. This set Burke on Hagen's trail, which couldn't happen. Caffrey decided to put the tracking device on Burke instead so that he could track him and know if and when he might be going after Hagen.
After hearing that Burke had pinpointed Hagen's location to where they were currently (and also some damning things about his moral character), Caffrey turned the tables on his nemesis. After having Mozzie "Rain Man" the Mosconi Codex pages, he dumped them on the ground, poured gasoline on them and then after Hagen freed Lowe, set them on fire. While Hagen spluttered, the two men dashed away, with Caffrey splintering off to meet Lowe in a harrowing scene that had me expecting her to be shot in front of him. That didn't happen as they had a long embrace. A few minutes later, Burke and Jones came in and found Hagen, smoking a cigar and seeming quite full of himself. Another problem - Jones decided to check Caffrey's anklet ... which would place him in Hagen's hideout for most of the day.
Caffrey and Lowe were sharing what they knew while hunkering at his place - and Lowe insisted on not telling the police the true story, since that would land Caffrey in jail. They decided to keep working on it together and they figured out that Mosconi may have been hiding a diamond that was the equivalent of the Hope Diamond.
In the interrogation room, Hagen, after telling Burke that Caffrey had probably framed him for that painting, took both of them to a park. A whole phlanx of police accompanied them. He began brazenly telling Caffrey and Burke to 'beg for his freedom.' Then everything turned sideways. A sniper's bullet hit Hagen, killing him instantly. As Keanu Reeves is fond of saying in his movies: Whoa...
Burke and Caffrey found the apartment that Hagen had been staking out, The address and apartment number matched the one on Siegel's card. They found that it was a home office that had impeccable records not only on the two men, but everyone in Burke's division ... and the late Agent Siegel. On top of that, Caffrey found an area where paintings had been created, and Hagen's initials practiced over and over. In another room, there was a dressing room area, with pictures of Rebecca in various stages of costumes, and the area where Rebecca had allegedly been held hostage by Hagen earlier. The two men stood there gobsmacked as the episode ended.
Immediate thoughts:
Bomer got a chance to flex some acting muscle: his near-frenzied run when Caffrey was trying to meet up with Lowe was a perfect showing of how the usually ultra-cool man was this-close to losing it.
Well, now Sheppard can go back to just playing the dastardly Crowley on Supernatural.
Was Hagen collaborating with Rebecca and got betrayed by her? This is the first time in a while that the show has made my head spin.
Caffrey: It looks like the con man got conned.
It looked like there was a bit of thawing between Burke and Caffrey at the end when they realized that Hagen may have been a pawn too. Hopefully the show can get back to the friendship of sorts they had in the early seasons.
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USA
The episode opened up with Peter Burke (Tim DeKay) meeting Neal Caffrey (Matt Bomer) outside a dry cleaner, with the FBI agent holding a freshly-pressed suit. He was having dinner later with his wife Elizabeth (Tiffani Thiessen) to celebrate the anniversary of their first meeting. He mentioned that he remembered all anniversaries, including the day that he first arrested Caffrey. He then showed him the FBI pen that he'd found in the last episode. Caffrey played dumb. What, you thought he was going to blanch and say, "Oh man, you caught us"? Burke dismissed him so that he could get ready for his date with Elizabeth.
Later on, the Burkes were eating dinner at a restaurant. Suddenly, the waiter came up with three drinks. Puzzled, Burke said that he didn't order them. The waiter pointed to a woman sitting at the bar. It turned out to be Jill from Peter's days at Quantico. She was also his ex. Awkward. Jill came over and sat down, though she did immediately realize that Peter and Elizabeth were on a date. They insisted that she sit with them. Jill told them that she was in town on a case. They then drank the bourbons Jill had sent over, though Peter knew he was in trouble by Elizabeth's immediately sipping wine afterwards.
Rebecca, the unemployed museum curator, went to Caffrey's place. He gave her wine and showed her the sole chapter of the Mosconi book he had pilfered. They were puzzling it out and he thought to put the pages, which contained a lot of illustrations, like puzzle pieces. They were flirting with each other the whole time. Finally, it turned out to look like a stained glass window. Flushed with excitement, she kissed him. Of course, enter Mozzie (Willie Garson), in the role of the FBI agent to interrupt the kiss. She left and Mozzie expressed that he thought Caffrey was getting too emotionally involved.
At home, Burke was at explaining himself to his wife. When Jill was at Quantico, she pushed him hard, but he said overall, Elizabeth was the one one who really got him through the past year, which mollified her. She reminded him that it was still their anniversary. Bow-chicka-wow-wow.
The next day, Burke and Caffrey were talking at the office. It turned out an FBI badge had flashed somewhere and it could have been the late Agent Siegel's. Jill then walked into the FBI office and headed toward's Burke's office, which made him get nervous and try to usher Caffrey out before she came in, telling him that she was no one important. While Jill and Burke talked in his glass-paneled office, Agent Clinton Jones and Caffrey were trying to look like they were working, but were actually watching the conversation. They immediately sussed out that she was Burke’s ex. Inside the office, Jill explained that she was looking for a guy who had made a chip for a defense contractor and was then going to sell it on the black market. She had set up a sting and she needed Burke to come in, since he apparently was the only agent in NY she trusted. On the way out, she muttered, "This is going to be fun." Caffrey and Jones couldn't get enough of watching Burke practically flop sweat in his office.
Later on, Burke and Caffrey were talking on the street, with Burke still swearing that Jill meant nothing, though he was going to tell Elizabeth about the going undercover later at night. Still dubious, Caffrey changed the subject and said that he needed a new wardrobe to get the people who were using Siegel's badge. That meant the keys to the nice car. Later, Burke was at home and was about to tell Elizabeth the situation when, but of course, Jill just dropped by unannounced, saying that she had to do the recon right then and there. She dragged him off and hit Elizabeth with a "It's classified" when asked what was going on. This raised the hackles of Elizabeth, who usually talked about all aspects of cases with Burke. Burke had to back up his partner, though he looked clearly uncomfortable. Nice. Nothing that would set up any suspicions, right?
Burke and Jill were sitting in a car on stakeout and she told him that he didn't need to put on a strong front - she knew he was still hurting from losing Siegel. After a brief interlude of Jones and Caffrey driving in a car making Cagney and Lacey jokes, she told about her experience of losing an agent and then held his hand to comfort him. Mercifully the seller showed up and the two agents went to the hotel that the seller was staying in.
Jones and Caffrey were in their car, acting as bait in the area where the badge had last been used. Soon a guy rapped the door, flashing a badge and saying that he had to commandeer the car to pursue a criminal. Yeah, right. Caffrey and Jones got out and put him under arrest. They looked at the badge. Yep. It was Siegel's, which made Jones clench his jaw quite tightly to keep from capping the guy right then and there.
In the hotel, Jill and Burke went to the seller's room and managed to plant a gun under a sofa cushion and got out before he saw them. Outside they saw two guys go in ... people they had seen before. This meant there may also be a third interested party in getting to this fellow and his chip. Quickly, Jill took a picture of Burke and herself with her phone to sell that they were a couple and get the guys on film.
Burke and Jones were interrogating the guy with Siegel's badge. He swore he didn't kill the agent and said that he was in a liquor store, waiting to rob it and said that he would be seen on footage. Burke was mad and seemed to not be placated by Caffrey's kind words afterwards. He went to the office and looked out the window after putting Siegel's bag in evidence. Caffrey saw this and knew that he couldn't do anything to help.
Elizabeth was waiting up for Burke when he got home. She wanted to talk to him about the case, but he stuck to it being classified, which ran counter to nearly every other conversation they had had over the past four seasons. She was mad, but said that she understood. Right. Burke tried to snuggle with her, but she was clearly peeved.
The next morning, Jill and Burke were at the FBI office, where they got information on the two guys that they had seen earlier. They figured that the two men wanted to steal the chip. Elizabeth strolled in to give Burke his lunch, which he had forgotten. She started to talk to Caffrey, who was waiting at his desk, having also been cut out of the loop by Jill and Burke. The topic turned to Jill, who Elizabeth saw as being lonely. Inside the conference room, Burke was bringing Jones into the case, something the lone wolf Jill didn't want, but Burke threw his weight around as ASAC, which made her back off. Elizabeth went upstairs and into Burke's own office and of course, this classified file was just sitting out there in the open for her to see, including the posed picture. It was like White Collar meets Three's Company. It's all a misunderstanding, Janet! She stormed out of the office before Burke could talk to her.
Later on, Burke and Caffrey were talking outside about the Elizabeth/Jill situation. Caffrey was trying to explain that Burke should know that marriage can trump classification sometimes, especially here. Burke said that he could talk to Jill about the stress of losing Siegel, she had been through something similar. He also said he didn't want to worry Elizabeth any more than she already had been, what with him being shot before and then arrested. Burke's cell phone rang and he had to run off to the meet.
Elizabeth first wanted Mozzie to follow Burke, but he said for her to follow Jill.
Outside, Burke and Jill were doing a stakeout. The two mercenaries were going into a restaurant, so they decided to go to the hotel. In the surveillance van, Jones wanted to do a walkthrough of the restaurant, since he realized there were no eyes in the back. Jill didn't want him to and told Burke to tell him to stand down. Jones sussed it from Burke's response and decided to go anyways.
After talking to Mozzie, Elizabeth wanted Caffrey to case Jill's hotel, which Caffrey did, if only to keep Elizabeth from charging over half-cocked. They saw Burke and Jill going inside the hotel and Caffrey tried to assure her that it wasn't what it looked like. She snapped that it better not be and they got out of the car to go into the hotel. Remember the TV show Cheaters? At this point, the cameras would have been hustling in behind Caffrey and Elizabeth as they walked towards the hotel, all shakey-cam to show the anger and urgency.
After Caffrey and Elizabeth went into the lobby, with Caffrey going to look for a room number for Burke and Jill. Outside, Jones did a walkthrough at the restaurant and realized that it was an ambush at the hotel and tried to call Burke. In true television plot fashion, just as the phone rang, Jill took it from Burke, saying that protocol called for radio silence. D'oh. The two agents made their way to the seller's room.
While waiting in the hotel bar for Caffrey to return, Elizabeth saw the seller sitting at a stool. She tried to stall him from going upstairs by flirting with him and got him to put his number in her phone. While the seller was doing that, he also slid something in the phone's case. When he finished and left, Caffrey walked by the seller only to to see him get led off to the elevators with a gun in his side. Elizabeth and Caffrey followed and determined the floor from the lobby elevator readings. She updated Caffrey what had happened in the bar, including getting his number. Caffrey took the phone and he found what the seller had put in the phone's case - the chip.
Upstairs, Jill and Burke went to the seller's room. While they were outside the door, the two mercenaries and the seller came into the hallway, saw Burke and Jill and pulled guns. After first trying to bluff the mercenaries that they were honeymooners, the bad guys forced her to open the bag to show the money. Soon they were tied up in the seller's room with the mercenaries interrogating them. The seller blurted that he gave the chip to "a woman downstairs." Trying to buy time, Burke interjected that he was a buyer too.
Caffrey and Ellizabeth made their way to the seller's room door. Elizabeth was desperate to get into the room. Caffrey got her in with a modified hotel room card - after making her swear that she never saw the item. Elizabeth burst into the room and was immediately facing a consternated husband and two guns trained on her. Yikes.
After the commercial break, Elizabeth said that she had the chip and showed the phone to the mercenaries, holding it for a few seconds, allowing Caffrey to sneak in through the back door. What then was not exactly the best coordinated or believable rescue that I have ever seen. In sequence, Elizabeth threw the phone towards the mercenaries, putting them off-balance. Caffrey slid behind a sofa to where Burke was and with one smooth motion, managed to slice the rope around the FBI agent's wrists without, you know, severing any arteries. Burke then reached under the sofa to get the gun they had so conveniently left before and shot one mercenary in the arm while Jill, still tied up, was able to stand up and while turning her upper body, smash the other mercenary with her chair. Jones and other FBI agents then flooded in. WWE matches have looked more realistic.
The aftermath saw Burke talking with the departing Jill, who told him to not be afraid to talk to Elizabeth about everything he was feeling. Which he did, that evening, finally opening up to her about the pain and guilt that he felt about Siegel's death. Elsewhere, Caffrey led Rebecca to the stained glass window from the Mosconi illustration and then laid a huge kiss on her, which she gladly reciprocated
Of course, the episode couldn't end on a good note. The next morning, Burke was in his office looking at Siegel's shield case. In the inside compartment, he found a business card that had 'Cooper's?' written in Siegel's handwriting on the back. He narrowed his eyes at that and then looked briefly at the camera. Dun-dun-dun! We'll have to find out what that meant next episode.
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USA Network/Getty
The episode opened like the previous one ended, with Agent Siegel's body on the ground. Surveillance video showed an image of a hooded person walking away. These were on a projection screen in the FBI meeting room 15 days later, during which Agent Peter Burke admitted that while this investigation needed as much manpower as it could, there were caseloads that still needed to be handled as well..
After the meeting Agent Clinton Jones asked Burke if Neal Caffrey was off house arrest, since Siegel was his handler and he's...well...dead. He also told him that he still needed a new handler, a rather broad hint that Burke should resume his previous duties. Burke merely smirked.
Cut to Mozzie staying at Caffrey's, still trying to figure out how to get back on his feet. He seemed to be doing everything possible to annoy Caffrey, including asking him if he could air dry his body out on the terrace after showering, earning him a rather terse "No." Caffrey was still feeling guilt about Siegel's death. and he was wondering if he was to blame. Maybe he had inadvertently pointed him at his nemesis, Craig Hagen, who still has Caffrey under his thumb.
As Caffrey and Burke talk at work, Burke says he's taking over cases. Of course, a guy walked in three seconds later with blood on him and said that he needed to confess to a crime, while holding a plastic baggie of stolen money. It never takes long to prove Caffrey wrong. In the interrogation room, the guy said he got the head wound from being hit by a cab...and that he can't remember how everything happened. It's too bad he didn't write tattoos on himself like Guy Pearce in Memento.
After that, Caffrey talked to the guy, named Nate Griffith, and tried to bond. It started off badly when Griffith called him "Mr. Caffrey," something he bristled at. Burke felt the money and realized that it was probably stolen once before. Burke and Caffrey visited the robbery site and the manager played dumb and didn't let them look at the vault that was supposedly broken into. So...Burke and Caffrey went outside and made fake ID badges for the company and then went back in. They badgered a new employee there into making paperwork for a new account and while the guy was away from his desk. Neal looked at the work computer to determine who the vault belonged to: Nightowl Holdings. It was a shell company but the person behind it, Shane Jacoby, had ties to someone who Giffith has been seeing: psychiatrist Mara Summers. Both of them attended a lecture of hers, with Caffrey deciding to go undercover as her patient.
After a bit of cat-and-mouse, she agreed to sessions with Caffrey. In private, Burke warned Caffrey to not allow her to get into his head. "I'm a wall," Caffrey scoffed. Yeah, we could see where this was going, couldn't we?
Caffrey and Summers squared off in her office, interspersed with a scene of Burke rattling Jacoby's cage, with Summers making some points that Caffrey was a sociopath who was incapable of changing his ways. After a bit, Caffrey started getting woozy. Apparently she drugged his drink, leaving Caffrey reeling. Soon, he blacked out and was prey for her to ask him any questions. Later he woke up after she gave him smelling salts and he left in a state of utter discombobulation. He returned to the FBI office and they found out how she had tumbled on to Caffrey and Burke so fast: Griffith had innocently slipped to Summers after the first interrogation that he was being asked questions by FBI agents.
Later, Caffrey and Mozzie (there were no bad wigs in this episode, though he did have a ridiculous shower cap in the beginning) were talking about what happened in the psychiatrist's office and were puzzling out the drug. Mozzie correctly identified it as some sort of date rape cocktail and then mentioned Recovered Memory Therapy, which would let them find out what exactly Caffrey had blurted out to Summers while under the influence. The situation would have to be recreated, which meant Neal would have to drink it again. Mozzie made the drug, with some tweaks. We all know how well things go when Mozzie tweaks things, right?
While under the influence, Caffrey pointed out Mozzie could understand who he is, still a criminal himself. A bit perturbed, Mozzie left the room to think and came back to find his zonked-out subject gone, to Burke's where be is ready to confess.
This scene was pretty amusing: Caffrey was sitting on Burke's sofa, barely coherent and hugging a pillow. After a few puzzling minutes, Mozzie just strolled in through their front door. After explaining what exactly was going on, they decided to keep asking questions about the session before the drug wore off. Caffrey remembered a phone number she called. It was Jacoby. Mere seconds later, he was asleep.
Jones and Burke, sensing that Griffith was in danger, went to his place and found out Jacoby was holding his kid hostage there. They played dumb and pretended to leave, bringing Jacoby down and quickly arresting him. Now they needed to tie up Summers with a nice, neat bow tie. But how? There was no real evidence against her except for the word of two felons, Griffith and Jacoby.
The solution: Neal met with Summers and planted the same drug in her drink, causing her to confess and they arrested her. She sneered that Neal would never be more than he is. "I'm free, which is more than I can say for you." was his quick reply. Lady...you were Caffrey-ed.
Afterwards Griffith reunited with his family and left. Caffrey commented that the case was closed. Burke wasn't so sure; the money that Summers confessed to was gone. Caffrey just shrugged and played dumb. Of course, he wound up giving the money to Mozzie to gets him out of his place, probably before he wound up killing him for being the world's most annoying roommate. Of course, Mozzie had to stir the pot, asking him if he was tired of serving so many masters. Caffrey ended the episode on an ominous note, saying that he wants to cut all strings to puppet masters. Which means again, he's thinking of letting Burke down again. Dun Dun DUNNNNNNNNN.
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Getty/USA
The show opened with Agent Siegel asking Neal Caffrey where to live in New York, since he's recently divorced. He then tells him a secret: he's rich. Of course there's got to be intrigue with the new handler. Caffrey pointed him towards the lower West Side.
They transitioned to the office and Caffrey learned from Peter Burke, his former handler, that Curtis Hagen is now free due to the contaminated evidence (thanks Neal!) and as a result, Hagen is out. Of course, just as he was leaving Burke's office, Caffrey got a text from Hagen. What, Hagen couldn't wait five more minutes?
They met at a museum. It wasn't a social visit. Hagen told Caffrey that he was grateful he is free. Caffrey said that's he's done, but Hagen said that he controlled when it was over and, oh, he wanted him to steal something for him.
Hagen wasn't after the most valuable piece, a painting. Instead it was a book; or part of it, rather - one chapter out out of something called the Mosconi Codex, a book that cannot be opened and supposedly has the key to wealth. (Hagen could have just gone to the self-help section of any bookstore, duh.) Caffrey's got 48 hours. Of course, he started off by flirting with the curator, who was named Rebecca.
There was comic relief, with Mozzie wearing bad wigs to conceal himself. Yeah, this is a theme this season: the costume department must love this. They hatched a plan to get Siegel to take Caffreys' tracking anklet off by having him convince him that the museum is going to be robbed by someone named Zev (a person who Mozzie had grievances against) and Neal wanted to be on stakeout, sans ankle bracelet. Siegel bit and Burke first said he would join them, but Neal reminded him that he has a Yankee commitment. Crisis averted...for now.
Caffrey met Rebecca outside the museum and managed to secretly procure her work ID,which would allow him unfettered access to the museum. Siegel then drove up and set up the stakeout. While they were sitting in the car, Siegel admitted that he got his fortune from his grandfather's making elevator buttons. Exciting. Neal sent him off on a goose chase based on a wig that Mozzie was wearing and was then about to make a move to the museum, since he only had a 10-minute window, when Burke showed up. Oops. Neal got him to leave by playing the guilt card about how Burke was the one who dumped him onto Siegel. Burke got the message and took off. Neal hastily made his way to the museum.
Disaster almost struck when Siegel was closing in on Mozzie, but Zev, who apparently was more inept of a burglar than Mozzie let on, set off the alarm, causing all the gates to shut, but not before Caffrey was able to get the chapter out of the book and replace it with dummy text. Both Caffrey and Zev were trapped in their respective spots in the museum. Caffrey shorted out the gate, climbed under and left. Siegel caught up with him outside and it turned out Zev stole the painting. Burke saw the alert that painting was stolen and brought in Rebecca for questioning, since it was her ID used to get in. Which of course made Caffrey feel guilty, since he was the one who took the ID in the first place, and he hadn't told her that he worked for the FBI. Which made the meeting in the interrogation room rather awkward.
Neal had to admit that he was doing some reconnaissance (though he shifted it by saying he was just checking to see if it might be an inside job). He tried to divert attention away from her since she was really innocent. In an attempt to figure out the stolen painting, he met Burke at the museum, where they first saw the Codex being moved, since the mysterious owner was not feeling it was safe there. Someone was opening the book and Caffrey was sweating bullets that the fake pages would be seen, but in Plot Saver, the other curator berated the guy to leave it shut. Then, focusing on the painting, Caffrey was walking through what Zev might have done to escape when he realized that he took his gloves off to short-circuit the gate below. Oops. Of course, since no one actually knows the Codex had been tampered with, no one would dust downstairs, so Caffrey was safe.
Zev was arrested with Mozzie watching the takedown while wearing yet another horrible wig. Afterwards, he crossed Zev's name off a pad. Yeah, you don't want to be on Mozzie's bad side.
Siegel and Neal were talking and Siegel is about to ask him something that seemed important and illuminating when Burke walked in. Moment lost. Neal then met up with Mozzie. They agree to try to crack the code in the chapter before Hagen could. That's part of the fun of White Collar: those two friends putting their heads together.
Much as I like Mark Sheppard, he seems to have taken a similar role like Crowley on Supernatural. Both are supremely amoral and like to hold things over people's heads. Hagen is doing the same thing the King of Hell did to the Winchester Brothers. I'm sure that White Collar fans will be rooting for Hagen to wind up someplace really, really hot by the end of this season. Hagen took the chapter and basically taunted Caffrey about when the 'favors' would cease. The only thing missing was him disappearing in a puff of sulfuric-smelling smoke.
Oops. Siegel happened to be tracking Caffrey and saw him talking with Hagen. Ruh-roh.
The episode ended with Caffrey seeing Rebecca at the museum. She had been let go, even though the painting has been returned...and then a bombshell. Caffrey came back to office to find a somber Burke and found out Siegel is dead (poor Warren Kole...I was hoping he'd get a longer run), shot on the street in what was viewed as a mugging gone wrong. My first guess is that Hagen figured out Siegel saw him and Caffrey and had him capped. We shall see as the rest of the season progresses.
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USA
The episode opened with Neal Caffrey planning elaborate maneuvers to avoid video cameras - it involved choreographed steps to music. Mozzie was urging him on. Caffrey was making progress, but not enough to make Mozzie happy.
Next, Caffrey went into work and met his new handler, Agent David Siegel (Warren Kole). Siegel practically fell over himself praising the criminal who he was keeping an eye on, falling just short of his asking for an autograph. That made his boss, Peter Burke, who had relinquished handling duties so that he could run the department impartially, express doubts at first, but Seigel then him know he was just playing up to Caffrey's vanity. After seeing Kole on The Following, I half-expected him to then scream out, "FOR JOE CARROLL!!" and start shooting at people in the office.
It turned out the FBI was targeting the shell company Mozzie is running through online auctions and that led Caffrey and Siegel to go to a warehouse. Caffrey went in first, ostensibly to case the place, and warned Mozzie that Siegel is there to arrest him. An alarm went off and Siegel burst in and saw Mozzie, but the balding, bespectacled criminal got away. When Siegel gave the description, the office immediately knew it's Mozzie.
Agent Diana Berrigan, 8 months pregnant, seemed to be having crisis about losing her job after giving birth; she was pulling all-nighters in attempts to find to who was behind the shell company. Finally, a name came out: Teddy Winters.
After a ridiculous scene with Neal finding Mozzie in a park as The Statue of Liberty (that was two silly outfits for Mozzie in a row; Willie Garson must hate the wardrobe department now), Mozzie revealed that his core identity was Teddy Winters. He used it to see if parents came looking for him. The Feds would know who he really was. The two hatched a plan.
They let the feds think they found Mozzie by tracing his IP address at the warehouse, but Mozzie ran back and blew it up. Berrigan thought the death was faked and went investigating on her own despite being very pregnant and getting direct orders from Burke to go home and rest. She found a fake manhole cover and found Mozzie in a hiding spot. Of course, just as she was ready to turn him in, she went into premature labor from stress and Mozzie, first ready to run, gets an attack of conscience and came back to help.
Earlier, Peter had told Neal that the Curtis Hagen evidence was in lockup upstairs, due to his parole hearing coming up, and Caffrey goes upstairs to do some damage to it since Hagen had blackmailed him in the previous episode. This is where the choreography came into play. Neal successfully dodges the cameras (this was interspersed with Mozzie helping Berrigan give birth - not quite the end of The Godfather, but pretty good). At one point though, Burke saw Caffrey's hat still on his desk and being suspsicious, went upstairs, but found nothing amiss.
The show ended with Berrigan in the hospital with her new baby boy and conveniently forgetting that it was Mozzie (AKA Teddy Winters) who helped her. Mozzie was off scot-free with the certainty that Hagen was going to be back on the street and would still be holding Caffrey in his grip.
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A dress worn by country star Taylor Swift is to go on sale at an auction. The frock was worn by the I Knew You Were Trouble hitmaker at the 2012 Grammy Awards ceremony where she performed her single Mean.
The mid-length gold piece is up for sale on New York-based online auction site GottaHaveIt.com.
Auctioneer Pete Siegel tells New York Post, "If you were with your girlfriend, sister, brother or mother watching the Grammys last year, you'd remember Taylor Swift's performance."

Now that you've seen Man of Steel, writer Larry Tye, author of Superman: The High-Flying History of America's Most Enduring Hero, now out in paperback, contributes this essay exclusively to Hollywood.com on the ways in which Zack Snyder's film differs from established Superman lore.
Now we know. The Man of Steel who for 75 years has emblemized the American way really is a Brit – a native of the Channel Islands and a product of a Buckinghamshire boarding school. Gone, too, are the red underpants our hero has worn outside his leotards for so long they became as central to his identity as the "S" on his chest. Then there is this: Superman is a born-again Christian, one so hell-bent on saving his adopted humanity that he might as well be Jesus himself.
Oy vey. Thankfully Jerry Siegel isn't around to watch Hollywood's latest take on the Jewish-American hero he dreamed up in the spring 1938.
This isn't the first time a live-action Superman has embraced Christ as his role model. In Christopher Reeve's first movie in 1978, a Godlike Marlon Brando dispensed to his son advice straight out of the Book of John – to "show the way" to the Earthlings who "lack the light." On stage in Godspell, Jesus wore a Superman shirt. And in the opening episode of the Smallville television show, a young Clark was hung on a crucifix by a gang of football players. Never before, however, has Superman-as-Christ been as unambiguous as in the new Man of Steel film, where he poses in postures of crucifixion in the air and water, then consults with a priest before a stained-glass portrait of the savior. In case anyone misses the hints, Warner Bros. has commissioned "sermon notes" to help ministers connect the dots for congregants.
Was that what Jerry Siegel and Joe Shuster had in mind for the muscle-bound hero they dreamed up in the 1930s? Not by half. Evidence of Superman’s actual ethnicity starts with the name his creators gave him on his home planet Krypton: Kal-El. El, in Hebrew, means God, while Kal connotes a voice or vessel. Together they suggest the alien superbaby was not just a Jew, but a very special one. Like Moses. Much as the baby prophet was floated in a reed basket by a mother desperate to spare him from an Egyptian Pharaoh's death decree, so moments before Kal-El's planet blew up, his doomed parents tucked him into a spaceship that rocketed him to the safety of Earth. Both babies were rescued by non-Jews and raised in foreign cultures – Kal-El by Kansas farmers named Kent – and all the adoptive parents quickly learned how exceptional their foundlings were. The narratives of Krypton's birth and death borrow the language of Genesis. Kal-El's escape to Earth is the story of Exodus.
Clues mount from there. The three legs of the Superman myth – truth, justice, and the American way – are straight out of the Mishnah, the codification of Jewish oral traditions. "The world," it reads, "endures on three things: justice, truth, and peace." The destruction of Kal-El's planet rings of the Nazi Holocaust that was brewing when Jerry and Joe were publishing their first comics, and it summons up the effort to save Jewish children through Kindertransports. A last rule of thumb: when a name ends in "man," the bearer is a Jew, a superhero, or in this case, both.
What about Superman's trademark costume – red briefs over blue full-body tights? The bold primary colors and unforgettable uniform made him look every bit the circus acrobat, only stronger, more agile, ready for action. A sure sign of his innocence and confidence was that he didn't mind appearing in public with his underpants showing, much as he chose an alter ego who kept pursuing the prettiest girl even though he seldom got her. All that is flipped on its head in this latest movie, as Superman-Clark lands the alluring Lois with hardly an ounce of effort and with no sign of any underwear he has on.
But Man of Steel's most dramatic departures from script are its choices of story and storyteller. The former is a fusion of origin epic and slam-bang action that it hopes will draw in a new generation to the Superman saga, reel back aging devotees, and set up the sequels that fans embraced, albeit with diminishing enthusiasm, in the Christopher Reeve four-pack. The storyteller, meanwhile, disguises his English brogue but his British roots make clear that the Man from Metropolis now has a global reach.
All of which begs these questions: Will the changes fly, and should they?
The truth is that change is central to the Superman mythos, as over the decades he has evolved more than the fruit fly. In the 1930s he was just the crime fighter we needed to take on Al Capone and the robber barons. In the forties he defended the home front while brave GIs battled overseas. Early in the Cold War he stood up taller than ever for his adopted country, while in its waning days he tried singlehandedly to eliminate nuclear stockpiles. For each era he zeroed in on the threats that scared us most, using powers that grew or diminished depending on the need. So did his spectacles, hair style, even his job title. Each generation got the Superman it needed and deserved. Each change offered a Rorschach test of the pulse of that time and its dreams. Superman, always a beacon of light, was a work in progress.
Superman also always has been a citizen of the world. As early as the 1960s, forty-two countries from Brazil to Lebanon were translating every issue of his American comic book into their native tongues, which gave the Swedes a hero called Stalmannen, the Mexicans a caped cousin named Supernina, the Dutch an intrepid lady reporter whose byline read Louise Laan, and the Arabic world an undercover male reporter named Nabil Fawzi who worked for the newspaper Al-Kawkab Al Yawmi. By now this flying Uncle Sam has written himself into the national folklore from Beirut to Buenos Aires.
Even mixed reviews like those critics gave Man of Steel are part of the Superman tradition. Christopher Reeve’s first film, which set the standard for both Superman and superhero movies, was in the words of Roger Ebert "a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects, and – you know what else? Wit." But Vincent Canby of The New York Times seemed to be writing about an entirely different movie, saying that "to enjoy this movie as much as one has a right to expect, one has either to be a Superman nut, the sort of trivia expert who has absorbed all there is to know about the planet Krypton, or to check one's wits at the door."
The real lesson of Superman's long history in radio and movie serials, TV and feature films, is that the only critics who count are ticket buyers, especially pint-sized ones, who helped Man of Steel nearly cover its huge production tab in just its first weekend and set a record for a June opening. For them, the formula is straightforward and starts with the intrinsic simplicity of his story. Little Orphan Annie and Oliver Twist reminded us how compelling a foundling's tale can be, and Superman, the sole survivor of a doomed planet, is a super-foundling. His secret identity might be annoying if we weren't let in on the joke and we didn't have a hero hidden within each of us. He was not just any hero, but one with the very powers we would have: the strength to lift boulders and planets, the speed to outrun a locomotive or a demonic General Zod, and, coolest on anyone's fantasy list, the gift of flight.
Superpowers, however, are just half the equation. More essential is knowing what to do with them, and nobody has a more instinctual sense than Superman of right and wrong. He is an archetype of mankind at its pinnacle. Like John Wayne, he sweeps in to solve our problems. No thank-you needed. He is neither cynical like Batman nor fraught like Spider-Man. For the religious, he can reinforce whatever faith they profess; for nonbelievers he is a secular messiah. The more jaded the era, the more we have been suckered back to his clunky familiarity. So what if the upshot of his adventures is as predictable as with Sherlock Holmes: the good guy never loses. That is reassuring.
Larry Tye was an award-winning journalist at The Boston Globe and a Nieman Fellow at Harvard University. A lifelong Superman fan, Tye now runs a Boston-based training program for medical journalists. He is the author of the New York Times bestseller Satchel, as well as The Father of Spin, Home Lands, and Rising from the Rails, and co-author, with Kitty Dukakis, of Shock. He lives in Lexington, Massachusetts, and is currently writing a biography of Robert F. Kennedy.
Follow Christian Blauvelt on Twitter @Ctblauvelt | Follow Hollywood.com on Twitter @Hollywood_com
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The most extensive child custody case in the history of time: the battle for the rights to Superboy. For 70 years now, DC Comics and the estate of Jerry Siegel (co-creator of Superman and his youthful alter ego) have grappled over distribution of the character, with the court's leaning bouncing between the parties over this time — after a 2006 decree of Siegel's heirs as authority on the adolescent Kal-El, DC and Warner Bros. have won the rights to develop a Superboy movie, as reported by Deadline.
Since initial inception in 1938, we have seen a number of different incarnations of "Superboy." The initial property, and that which seems to be the subject of Warner Bros.' new film, depicted Superman fighting crime and coming to terms with his powers in his pre-Metropolis days (a la Smallville). Another version of Superboy, deemed Kon-El, was actually a "metahuman clone" of Kal-El, synthetically created to emulate his source's powers.
As the latter was created by Karl Kesel and artist Tom Grummett, we assume that the news of Warner Bros.' recent legal acquirement must refer to young Kal-El. However, as the forthcoming Man of Steel film looks to tackle Clark Kent's journey from his mysterious childhood to ultimate heroism, there might be a hefty sum of crossover between that and a traditional Superboy film. Perhaps a melding of DC's Superboys is what we'll see in any title Warner Bros. releases in the near future... either that, or we can assume that all those brooding shots of hanging laundry and Kevin Costner diatribes from the man of Steel trailers will be spread out over a whole other 120-minute movie.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
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